Alien 3 is the difficult middle child of Fox's science fiction/horror franchise. Upon it's release in 1992 it was dismissed as an inferior work to Ridley Scott's original and James Cameron's classic sequel, but as time has passed (especially since the release of shitburger
Alien Resurrection,
Alien 3 is seen in a more sympathetic light. It certainly doesn't make it easy for a fan of the first two movies to like it, as it dispenses with barrels of audience goodwill from the outset...but not all of these perceived negatives diminish the film.
1/ First off, the survivors of
Aliens, Newt, Hicks and finally Bishop are dispatched very quickly meaning we'll never again see the continuing adventures of this makeshift family. Also, it seems impossible from the ending of the first film that an alien egg could have got on board the Sulaco, Ripley's ill fated space ship; it feels like the script is treating the audience like idiots right from the opening 100 seconds, hoping we'll not notice the massive plot contrivance, in order that the studio can cynically bleed us dry of our cash.
2/ Then there's the story itself which, instead of expanding the threat or mythology of the creature like
Aliens did by introducing the Queen, shrinks back down to the familiar structure of the first
Alien movie. This means, unlike Aliens where the characters are proactive from the start since they all know what awaits them (a bughunt), nearly everybody is clueless and reactive until half way through. Therefore the audience spends an hour shouting at the screen, "It's a bloody alien!! Isn't anybody paying attention!!"
3/ The characters are unbelievably stupid. Ripley hides the possibility of the Alien from the outset, for no good reason. She knows the alien is with her on the planet Fury 161 from the burn mark on her cryotube. She obviously wants to save herself and the inhabitants judging by the actions she takes later on, so why doesn't she tell them immediately? She then sleeps with Clements for no good reason. Using sex as a device to deflect a probing question doesn't wash for me. If it was a new character, other than Ripley, that was horny or lonely, then I might concede, but having Ellen Ripley, a serious and focused character established and refined over two previous films, wanting to leap into bed with a stranger (on a lice infected planet when she's suffering from hyperspace sickness) then you're having a laugh. And when Superintendent Andrews is finally told about the Alien he ignores her for no good reason, even though he's received a priority communication from the company (which he's never ever got before) which would inform him of Ripley's importance. Unlike Ralph Brown's 85, Brian Glover doesn't play Andrews as dumb, but his actions most certainly are.
4/ The largely British cast doesn't always work in it's favor. There's the Bernard Bresslaw Factor (named after the Carry On film actor whose work in
Krull pointed out thar Brit actors are uncomfortable spouting corny American lines of dialogue) which is in full effect, especially with the swearing. The actors are a fine bunch, but they don't seem to be able to convincingly mouth the profane dialogue, even with Brit-specific cursing like, "WANKERS!"*
Also, since most of the cast are British, and all are dressed similarly with shaved heads, it gets very difficult to tell them apart. And with little attempt to distinguish between the 25 prisoners in the script, it gets to be very challenging to work out who's who when they're madly running up and down corridors in the final act. It's only Charles S Dutton, in a key role, and Danny Webb's rise to prominence near the end that get to shine. Paul McGann's part is cut in the theatrical version down to a few scenes and poor Pete Postlethwaite is relegated to standing around in the background and getting eaten.
5/ The film is unapologetically bleak and builds to a downer ending. This is where I start defending the film. It might be depressing to have your franchise's hero get killed/commit suicide, but at least it's a brave and interesting path for a multi-million costing/earning film series to follow. The final third of the movie as Ripley wrestles with the fact she has a chest-burster inside of her is the most powerful and riveting aspect of the story, so downer ending be damned. The same can be said for the bleak tone in general...after all, this is a horror film franchise (as much as
Aliens tried to convince us it was all about the action). The grimness of the story, the grubby squalor of the production design, the murky browns and earth tones of the cinematography, and the hopelessness of Ripley's situation all add up to a ballsy and unique feeling film for a major studio franchise, and that's to be applauded.
6/ The production design, at first glance, seems to lack imagination partly being inspired by the tiled interiors of Victorian hospitals interiors, complete with wrought iron, spiral staircases. But again, I think this just adds to the originality of the film and helps sell the neglected, non-technological nature of the facility (after all, Ripley is constantly told nothing works there). The more futuristic side of the art direction, by
Empire and
Raiders Norman Reynolds, is top notch work with the smelting works set up there with the scale of the space-jockey set from the first film.
8/ Elliot Goldenthall's moody and operatic, choir-like score is a major plus, selling the monk-like lifestyle the planet's population have taken on. In addition the oddly timed editing and frequent use of slow motion gives the film a nightmarish, surreal quality that sets it apart from it's predecessors. Apart from a few dodgy spaceship shots, the effects work, both the mechanical stuff by Gillis and Woodruff and the visuals FX by Richard Edlund's crew, are top of the range. H.G.Giger's creature design in particular, whether a man in a suit or bluescreened rod puppet, is more authentic and animalistic in
Alien 3, behaving more like a bizarre predatory lion than the hive insect of
Aliens or the demon from hell of
Alien.
9/ David Fincher, on his first feature film gig, was definitely a great choice as director. The strong and consistent look and tone of the film are entirely down to him and it's to his credit that the way the story is told is as successful as it is (even if the plot he been sadly dumped with is deeply flawed). But, as mentioned before, the story is a mess with under developed supporting characters, stupid motivations and limited opportunities for action. One can't help but wonder what a Fincher
Alien movie would be like with full control over the script and minimal studio interference. As it stands it's a bit of a hodge podge of great bits and rubbish bits.
Of the great there is the early funeral scene, which is juxtaposed with the 'birth' of the alien. And the flash fire sequence through the crawlspaces and corridors of the facility is impressively furious and grandiose. On the flip side there's no sense of geography in the showdown as the prisoners try and bait the alien down the maze of corridors towards the deadly lead furnace. It works to
Alien 3's advantage to begin with that it's confusing where they, and the alien, are located...since that's what they're experiencing. But as the plan starts to work, then so should are sense of geography....and that never happens. Tension is replaced with frustration since we're never sure how close to their goals the suicidal monks actually are. Still, Fincher instills pace, urgency and tons of gore into the set-piece, so it never fully sucks.
10/ Finally, it's worth checking out the special edition of
Alien 3. It's certainly not essential, and it's inclusion only serves to reinstate a ton of needless filler as well as two more very, very stupid character decisions (prisoner Morse releasing prisoner Gollick and then Gollick then releasing the alien itself!) However, the opening sequence as Ripley is rescued from her crashed escape pod does give you a more impressive insight into the drudgery on Fury 161. From a supporting movie perspective, I can't recommend enough the making of documentary in the DVD boxset. From the very troubled development with directors Renny Harlin and Vincent Ward to the frantic clustercuss of filming, to the film's disappointing reception, it's a frank look at how not to make a blockbuster.
So there you have it; stylish beyond reproach, atmospheric, beautifully bleak but lacking in originality and a tight, compelling narrative. Given more time and a director with the clout and experience to stand up to the studio,
Alien 3 could have been the third classic in a row for this franchise. As it stands it's a bold and shiny car crash.
* To give
Alien 3 some credit, Danny Webb's criminal Morse does get to proclaim one the best onscreen curses in cinema ever. When the alien snatches Brian Glover through the canteen ceiling, Webb picks up a dining room chair and remarks, "FUCK!" in a perfectly pitched and timed exclamation. Nice one.
